Just on the right apex of the roof I believe, the mountains in the background donāt look right.
So amazing what software can do these days
Yep thatās the only place I can seeā¦the roof is OK itās just the line of the mountains above the apex. If I could be bothered Iād fix it but I was so impressed with āphotomergeā I just uploaded it without any edits.
There are so many bells and whistles in Photoshop thereās no chance of me using them allā¦thatās the first time in over 20 years of using PS Iāve tried it.
However young you are, that image is younger. 
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What the big bright white line in the middle of the photo? Iād have missed it if you hadnāt pointed it out 
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If you look carefully, you can see the streak of brown where the driver has shat himself
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7 years away as wellā¦
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Jeezā¦not even a lustful thought. 
Another day scanning old negatives. One of my favourite places in the US Desert States, Canyon de Chelly, Arizona.
White House Ruin, October 1993ā¦
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Iāve been getting a lot of love for this portrait today in a FB Group.
It was taken at our Photographic Society studio in 1978.
My good friend John, a wise old head, a fellow of the Royal Photographic Society and mentor when it came to āTraditional Portraiture,ā had brought along Reg. Reg worked as a labourer in Johnās printing works.
Regās wife was there tooā¦supervising. John always had the pictures he wanted in mind and would arrange his sitter to get the effect he wanted. Mrs. Dugdale was there to make sure Reg was presenting himself in a tidy and seemly fashion.
John wanted Regās hair ruffled and pulled forward but Mrs. Dugdale was there straight away with a comb to straighten him up. In the end, John and Mrs. Dugdale came to an agreement, John would get a couple of āRough Regā and Mrs. Dugdale would get her āSmart Regā. I took two pictures at the end of the shoot.
This one is the last one of the evening.
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Fuck me that is NOT serious hobbyistphotograghyā¦ that is (pardon my french) fucking art
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Thank you kind sir. As I always say people view black and white pictures differently, you tend to notice tone and texture more, over colourās dominating distraction.
I found the two unprinted negs of the session yesterday and 43 years later this one was still reluctant to reveal itself. Itās in a strip of 3 6x6cm images but the first time I tried to scan just 2 images appeared. I scanned it again and again only 2 came out. In the end I covered the two other frames and it finally appeared.
Canāt believe I never printed it back in the day.
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Its, not just the quality of the technical aspects, the texture that created by the contrast in the skin, but also how it captures so much character - even the ash about to drop is perfect for the expressionā¦ and I am sure its what Tim Booth meant in āSometimesā - āwhen i look deep into your eyes, I swear, I can see your soulā
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There is something mysterious about photography, something, dare I say it, spiritual. Iām normally a prosaic type but sometimes the picture writes a different story.
Iām a supporter of Henri Cartier-Bressonās āDecisive Momentā, the one moment in a scene when all the elements coalesce, thatās the moment when you have to press the shutter.
Is it something that can be taught? Perhaps but I really do think itās instinctive too. I often surprise myself in seeing what Iāve captured because I donāt remember making the conscious decision.
This is one that captures that moment and I only remember waiting for one element to resolve itself, which never did. I find it happens too often in my pictures to just be chance.
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You cannot teach āthe eye for a momentā in a photo.
On all my travels I always looked for a āNat Geographicā face, found some, never caught them.
It is a rare skill.
Likewise, working for so long with the snappers at golf (and Dave Cannon is one of the best) I watched their precision and skill. He even made me look good in a photo that won an award and got published in a book.
And yet my eye still caught moments they never could. Not technically competent even, but enough for them to go wow and even stuck some on the Getty sight.
That portrait is stunning @lifeintheslowlane
Deserves an audience far wider than us muppets
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What makes that shot so good is that every person or couple are interesting - what are they say ing or doing, even the waiter in the cafe and the dogsā¦ I also read that you need to take your camera with you everywhere and all the time because you cat plan for these moments
On the portrait front, I did recently spend a few pennies on a decent prime 85mm 1.4 lensā¦ just getting to know it for now taking pics of the catsā¦
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Thanks, pleased you like it. However I think my time has passed. If life events hadnāt got in the way at that time I would have sought some sort of recognition through The Royal Photographic Society as a few of my friends did.
I would have loved to be an āart photographerā but I was never cut out to being a jobbing photographer which always appeared a hard way to make a living. Iāve never sold a picture in my life.
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Well, why not put together an exhibition? Local gallery would I believe help you out as your work deserves to be seen
Iām too āOld Schoolā for a local gallery to be interested. Maybe Iāll be discovered posthumously like Vivian Maierā¦
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If this are āold schoolā, the bring it on. That portrait and the the cafe street scene are amazingā¦ I would happily hang them on my wall
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